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One of the most challenging aspects about shooting in dark settings is focusing. Even with modern autofocus systems, it can be tough to see to focus in a dimly-lit ballroom. Here are a few tips:

We switch between "AI Servo" (a.k.a. "Continuous") and "One Shot" (a.k.a. "Single Shot"). By default, I use "One Shot" because the focus will lock and confirm with a green circle in the viewfinder, and the flash will emit a red AF focus assist beam when it needs additional light.

"AI Servo" is best on the dance floor, or other times when the subject is moving and you need the focus to track the subject's movement.

Remember depth of field is your friend. Depth of field provides margin for error when working in dark situations. Three factors control depth of field: focal length, distance to subject and aperture. Depth of field is greater when:

1) The subject is farther away.
2) The aperture is stopped down.
3) The lens focal length is shorter.

On the other hand, depth of field is shallower when:

1) The subject is closer to the camera.
2) The aperture is opened up.
3) The lens focal length is greater.

Thus, if you shoot with a wider angle lens on the dance floor, (I wouldn't go wider than a 24mm lens on a Mark II — distortion reasons) and stay a few feet from the subject, you'll get a lot more sharp pictures.

Another factor is your choice of camera body. We shoot with Canon EOS ID Mark IIs, EOS 5Ds and EOS 20Ds. Each of these bodies has a different lens multiplication factor, which is determined by the size of the digital sensor. The EOS 5D "full frame" sensor has no multiplication factor, whereas the EOS ID Mark II has a 1.3 multiplication factor and the EOS 20D has a 1.6 multiplication factor.

The greater the camera's multiplication factor, the greater the effective depth of field. Depth of field is tied to focal length, and a wider angle lens has more depth of field. A 28mm lens has approximately the same field-of-view on an EOS 20D as a 50mm lens has on an EOS 5D (28mm times 1.6 = 45mm). Because the 28mm lens on the EOS 20D has more depth of field than the 50mm lens on the EOS 5D, the EOS 20D effectively has greater depth of field. We shoot mostly with EOS 1D Mark IIs, which focus much better than EOS 5Ds or EOS 20Ds in low light.

Finally, I find back button focusing to be very useful. I don't like having my focus and shutter release controlled by the same button. Because the focus is activated by the back button, I can stop the camera from focusing if it can't get an autofocus lock, override and manually focus, and still release the shutter.

During the summer of 1996, I was a photography intern for the Athens Banner Herald. Athens hosted three Olympic Sports and I was assigned to cover Rhythmic Gymanastics as well as all of the buzz around town surrounding the Olympics. During the Torch Run, leading up to the Games, I made a photograph of Edwin Kendrick holding the torch high and running into downtown Athens, surrounded by a sea of spectators. The photograph ran a full 6 columns across the front page in a special edition printing of the paper that same day. Because of that photograph, the paper quickly sold out and they had to rerun the presses, again selling out. It was an exciting time and the photograph seemed to perfectly capture the city's excitement and honor of hosting the Olympic Games. Last weekend, the Banner Herald ran a story about the torch runners as part of their 10 year anniversary coverage of the Olympic Games. The article states "Kendrick said his copy of the photograph, like the torch, is in 'a safe place.'" To hear that is such an honor because it reinforces how precious and valuable photographs are and how they enable the viewer to relive and experience the memorable moments of our lives.

Two LaCour weddings are featured in Atlanta magazines this month. Southern Seasons magazine shows off the vibrant fall colors of Barnsley Gardens Resort from Dawn and Adrian Sasine’s Nov. 4 nuptials – undoubtedly one of our favorite weddings. This couple was so crazy in love with each other, we felt so inspired and had a blast documenting their day. Southern Seasons also featured another LaCour wedding, Margaret and Mason Poe, in its previous issue.

I DO magazine features another favorite wedding, Kellie Burley and Steve Simon, one of three partners in Fifth Group Restaurants, which owns Bold American Catering. Kellie and Steve were married Oct. 15 at the chic Atlanta nightclub Compound. Being in the catering business, their food and décor were amazing and made for really different, dynamic detail shots.

In the South, churches take themselves very seriously. Church rules often mandate photographers working only in the balcony, and church wedding guild officials enforce the rules with such vigor that they often leave bruises.

Shooting from the balcony can be extremely limiting, as all of the ceremony photographs are taken from the same perspective.

One of my favorite techniques to unobtrusively capture images from a second (or third) perspective during a church wedding ceremony is to place a remote camera close to the bride and groom. This is also a great way for a photographer working solo to gain another perspective on the ceremony.

I will "shoot loose" with a lens that is wide enough to allow for some error in where the bride and groom may be positioned in the frame. I use a Canon EOS 5D as a remote camera because its 12.8-megapixel gives me plenty of pixels to crop out.

In this example, I positioned a camera behind a plant so it was invisible to the congregation. I used a Pocket Wizard with a Canon camera cable to trigger the exposure from the balcony. The kneeler allowed for a predictable place to aim the camera, and I selected a position that was slightly in front of the bride and groom so you could see their faces. Above, you'll see the shot cropped and digitally mastered as it appears in their album. You can see the image as it came out of the camera on the left.

QUESTION:
How did you light them on the pool shot?

ANSWER
This is on the top of the Mid City Lofts, which is called "Sky," right across from The Biltmore, which is where this couple's wedding took place. The couple hangs out at a little pub next to Mid City Lofts and have become friends with people who live in the Lofts — thus the access to the roof.

This is actually a rare shoot where we lit almost the entire shoot. For engagment shoots, I typically try to use as much available light as possible, but frequently use a reflector and of course sometimes strobes and bigger lights. It just depends on the couple, the location and complexity of what we're trying to do. For most of these shots, especially the ones outside near the pool at dusk, I triggered two Canon 550 speedlights bounced out of an umbrella with a 580 on camera. Denis Reggie's Dual Flash Bracket has become an integral part of our lighting bag since we started using it earlier this year.